dramastudent009
Learning from the Masters: a blog ;)
@dramastudent009
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Life lies in the little things
Cook like you are cooking. Dress like you are getting dressed. Eat like you are eating. Write like your are writing.
In essence, act like you are living!
I’m almost tired of repeating this - almost - but Uta Hagen, once again, was attracted to realism. Her realism, however, lied in life. Although she also had her own method of preparation for the stage, with her 9 questions and so much more, overintellectualization was also taboo with her.
This is a quality that I take from her and wish to put into my own acting; the comfortable, sometimes mundane little things on stage that give it a slice of life quality, but more so, establish a kind of pleasantly simple reality.
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Impulse
Meisner is another person I find absolutely fascinating. In reality, much like Stanislavsky, he is also attracted to truth. However, while the former dwelled more on carefully constructed what ifs, analysis of the script, and minute observations in the motives behind each character .... Meisner preferred to leave more up to nature. The level realest to us, after all, is often the subconscious, the impulses we do that we don’t think so much about.
Yet, while we’re on that note.
Listen to your impulses...
is easier to say, and much, much harder to do.
It’s like in the movies. “Feel the force. feel the qi. JUST FEEL IT”
...kkhem. It’s often not that easy. There are so many other thoughts distracting us, and we are not used to capturing those flashing impulses. In fact, we are trained through school, rules, regulations, to ignore many impulses.
So, his method is having us train our impulse much like you would train any other muscle.
This way of training impulse, of being able to deflect and play off the minute factors in your environment and fellow actors is something that is incredibly valuable and something I wish to put in my toolkit as well
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Conversation
A: Hi!
B: ...hi.
A: ...HI?
B: ...Hi.
A: Why are you annoyed.
B: Why am I annoyed.
A: WHY are you annoyed?!
B: ...why AM i annoyed?
A: I'm annoyed now.
B: You're annoyed now.
A: Yes. I AM annoyed now...
(and so it goes...)
.
.
.
no one:
absolutely nobody:
Meisner: GENIUS! PERFECT ACTING EXERCISE. IT"S A REVOLUTION
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EXTERNAL stella
If I admired Stanislavsky, I’d say I was attracted to stella, by her larger than life presence and ideas and just big, big personality. I liked the idea of the external method, because I really haven’t heard of it before. Prior experiences really had me dwelling in my mind a lot, but in certain ways, I think the external method can be more reliable. Because your mindset can change from day to day to day, and who can be genuinely sad for show after show after show? Thus, this way of doing, and the belief that feeling is a a byproduct of doing, gives me a sense of comfort in consistency. That you can be on not your best day, not up to go through an emotional roller coaster, and still perform.
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STanislavsky
S for Script, T for Truth.
Stanislavsky is, arguably, one of my favourites out of them all. I mean, we always say being first is a plus, but it truly is. Everything he has done comes into context when you realize before him, this wasn’t a thing - naturalistic acting, that is.
I really love his approach to script analysis, and this is definitely the first thing I will put into my toolbox for the future; it is ingenious in the way that he came up with it all by himself! Later methods often hone into and borrow his initial one, as a skeleton at the very least.
To be honest, at first sight, a script can be imposing. There is simply so, so much. If you enter it with a certain mindset, it can quickly become monotonous; or what we often call, playing the same note. Bob is mad, Bob is mad, Bob is... boring.
Using his method of units and objectives, it successfully breaks up this monster into manageable and much more friendly chunks, whilst at the same time maintaining an overall coherency, the big storyline with the superobjective. The concept of objectives and of a superobjective with verbs really do help you, because even if you are just standing there, you have a purpose; and in life, that’s often what happens. More often or not, I am always in a state of doing something, wanting to do something, or needing to do something.
I think of it this way; he was evidentally drawn to truth in the theatre. Thus, all actions had a purpose on the stage. From the “what ifs” to the circles of attention, he is simply trying to guide us, as actors, into keeping that truth for ourselves as well. In the future, I want to try and remember this mentality as well. I like the circles of attention method; more often than is probably healthy, I find myself drawn to the audience in my performance. I am very aware that everything is being watched, which in moderation promotes a consideration of where you are standing, blocking, etc. but in excess, pulls me away from that truth on stage. in my future endeavours, I want to keep this in mind; to tighten my circle in to the more immediate vicinity to try and maintain the truth more.
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What I think now
Remember everything you just read in the good acting section?
Now, wipe that clean. Or rather, partially clean.
Because although I, future me, still agree with most of the things on there, there are a few key things I wish to tweak.
1. An good actor must have the ability to portray a variety of different characters.
no. I mean, it is nice. and a good actor can have this ability, and a person who can portray a variety of different characters well is certainly a great actor.
HOWEVER. I think now that it is totally okay to have one, good acting job as well. People fear typecasting, but I think in someway, all of us are typecast, whether that be gender, race, age, or ability. Stella was famously swindled into playing a grandma by people who took advantage of her ego, yet what have we heard about this grandma character? It may be ok, but someone like Maggie Smith, or Meryl Streep may very well portray the character better because of their age, their life experiences, and I don’t think there is anything wrong with that. We all have things we are good at, and those we are not.
For another example. I think Johnny Depp is the Captain Jack Sparrow of Pirates of the Caribbean (let’s set aside how he is as a person for a moment - that, kkhem, is a whole other mess.) If you look at the roles he has been in, the ones that are successful are nearly all variations of the “eccentric, freakish outcast” (quote his IMDB profile) Think Willy Wonka, The Mad Hatter, Edward Scissorhands. However, he does this well, and although he may not be able to portray, say, luke skywalker at the drop of a hat, I think he is a good actor for the characters he has done.
2. A good actor memorizes their lines
I think this is sort of a given for any actor. It’s in the job description. A bad actor can memorize their lines as well. A good actor, on the other hand, will go beyond. Utlizing script analysis, whether that’s through methods like Stanislavsky’s or the 9 questions of Uta Hagen, they prepare themselves even more the role. Thus, like Uta Hagen said, they enter the rehearsal truly prepared and ready to play, to work, to act .... not just memorizing, but truly knowing their lines AND their tactics.
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Clouds, Rain, and meee (again)
Fonni is actually quite different from me in normal life; If there was a shyness spectrum, I would probably be further down the one end, and she the other. So, although I can’t say I’ve played a variety of characters just yet, I think I did step out of my comfort zone a bit with this one.
HOWEVER.
I must digress, I tricked myself a bit. I am quite stabby when I am tired - like, quite stabby. Although filming at night was due to family, choosing to film at the odd hours of 2am, 4am, was a more distinct choice on my part. Eyebags at hand, I tried to get myself closer to what her state of mind might have been like.
I tried clearer facial expression for the orange part, although on reflection, I think I could have gone even bigger with Fonni’s physicality and whole person, since she has quite a large personality. On the other hand though, I toned it down purposefully because I was scared if I couldn’t get the balance right, the scene would lose its truth and be blown out of proportions.
I don’t think I have a significant style of acting just yet? And feeling wise I am definitely biased; I felt tired when I watched it. Does that count?
p.s. why the clouds? why the rain? because out of PURE COINCIDENCE, it was cloudy and rainy on the two days I filmed. the days in between were quite sunny and nice, but those two days... it was like the sky was trying to fit itself to Fonni’s mood ;’) (shamelessly claiming)
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Conversation
A minirant
A: Hey B.
B: Yes?
A: You've been going on about good actors and how you know what a good performance is...
B: *On guard* ...yes. and?
A: What about YOU? How does your performance relate to it?
B: ...
B: ...
B: wellnoIdon'tthinkIcanbecomparedtotheselegendsjustyetbutItriedandIhopeitmadeyoufeelsomethingbutifnotIgetitWhenIwatcheditIfeltTiredbutthenagainIwasWatchingItAtLikeAt4AMIntheMorningAndIDKreallyhowI'msupposedtocomparemyselftothemandyeah
A: ...
A: human words. Please
B: Read the next post
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It makes me FEEL.
Anything. Joy, Fear, Sadness, Awe... Not necessarily crying, although crying is easy in the fact that it is the most visible and outwards proof of feeling something.
I’m biased, but I enjoy watching fantasy and sci-fi movies. If I dwell upon it, this is once again a different style of acting, because the concepts behind them are often bigger than life, or at the very least, distinctly different from our life. Thus, to find the balance between the art and the truth is a somewhat delicate thing; I know a performance is good when I am sucked into the world of the movie, because although set and special effects are helpful in their own ways, at the end of the day, it is the people that build up the world! the actors create the setting with their performances.
This captivation, of being entirely in the world of the actor, is often reflected in the silenced room. Because yes, there will be no energy to nudge the guy beside you when you are so, so focused on the acting. They have, truly, suspended your disbelief.
And there were many more specifics - about their character being flawed and being able to make real life connections (which, of course, is another proof of their search for truth in their character) and standing out (because even a diamond in the rough will find it’s shine) .
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Acting is SUSPENDING the audience's disbelief
the point from the Jamboard I loved the most at this point in time
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Examples of Good Actors
Iconic!
and why? Let’s think why we think a good actor is, well, good. They are memorable, or rather, the character they have portrayed is incredibly vivid and lifelike in our minds.
This can boil down to an extremely clear physicality/facial expression, intensity, and what we see as a very distinct style of acting. (Think Meryl Streep)
At this point in time, we agreed that a good actor is often multi-faceted, able to portray a variety of different characters. This boils down to a work ethic, I think, a belief in the skill and effort that goes behind acting, and therefore fuels the possibility of a variety of contrasting roles, because it is about the craft, and not about merely finding a role that fits who you are.
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COCA B. and me
Commitment.
Something I think I have and wish I have and wish I think I haven’t had but know I think I wish I had.
I practiced it the whole time through around twenty times, give or take, and worked on individual parts like the orange thing and walking around in high heels in my spare time, and a couple times before filming.
I think I was commited, although I also recognize I probably spent 4 hours on it, max, with all the rehearsal and filming time alloted for. It is a lot for me, but probably not a lot to truly delve deep into the piece and grab details. Also, the thing with other commitments also came in. (and my little bro having online school and barging into the kitchen for food every once in a while didn’t help either o_o)
Openness
It’s scary showing your work to people via a screen. It’s weird, since I share my work at school as well, and it’s also nerve wracking, but somehow not as nervewracking.
I think for me personally, it’s a mixture of it being filmed in a more vulnerable setting (my house), it being on film (hence the potential to be rewatched), and of course, the choice.
When it’s not something everyone is doing for sure, I feel a bit dubious about being the only one opening up like that. Which, of course in turn, shows a level of vulnerability and a sort of rejection of taking that huge risk.
I’d say my openness so far with online sharing would be a 7/10; I kind of have this urge to share with my peers, get feedback, and also see what they’re doing, but I’m also fearful of that loneliness that somehow stems from online sharing.
Creativity
I think I was creative coming up with the backstory, preparing everything, etc... Although to be honest the tasks were quite mundane. Then again, maybe that came with the nature of the exercise
Adaptability
I wanted to drink milk! My original plan was to steam the milk, make a big show of it spilling and everything (since milk boils ridiculously fast) and see how Fonni reacts to that. hOwEver... When I was doing my first draft runthrough, I opened my fridge and realized there was no milk! The surprise and dumboundedness there was quite heartfelt, and so I kind of played of that reaction and twsited my plan a bit.
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Conversation
A Bad Skit
A: I'm a good actor.
B: oh yeah, really.
A: yeah, really.
B: Are you Coca B?
A: I'm Coca.
B: Yes, but are you Coca B.
A: Why the B. Isn't Coca enough. Look at the drink company.
B: nonono. B is the most important part-
A: ...come on, you're biased.
B: -because an actor has to be BELIEVABLE!
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COCA B. The good actor, and what they do.
Committed
Memorizing scripts
Rehearse, rehearse, rehearse… for HOURS
Does not let personal life affect performance
Open
Being open to constructive criticism, feedback
Taking risks, acknowledging mistakes
… and of course, using this experience to better themselvess
Creative
Bringing more to the table, expanding with your ideas.
Adaptable
Being able to take on any role given
Adjusting to the tone of the play
Tweaking your performance to create resonance with fellow actors
And the golden word. BELIEVABLE
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Photo
Fonni’s Costume 101:
Sunglasses (must be big)
Big Bow in hair (bright. big. catchy.)
Baggy (ironed) t shirt
long, flare out jeans
Shoes:
5 inch high heels; subtly black, gives height and menace
black and white flip flops; minimalist comfort
Trench coat - draped over shoulders for that characteristic casual edge.
... and a frown because of headache :’(
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